One of the challenging tensions of being a musician is that it reminds you, pretty much on a daily basis, that you are both spirit and flesh.
Music is an emotional, intellectual, and spiritual endeavor.
At the same time, it's physical.
The combination complicates one's life, but I think it keeps you aware that you really are living!
Today I'm facing some fatigue that's standing in the way of me feeling up to par musically. My hands are arms are tired and I'm not reading as well as I normally do. Those things make me feel uncertain at the piano. And because I'm tired, my mind leaps from topic to topic instead of staying on the task at hand.
Work, other responsibilities, changes in schedule, over-practicing - all these things can contribute to a musician being tired.
I almost forgot - bad nutrition, lack of exercise and rest also play a role!
Also, clicking the mouse and staring at the computer screen.
So, I'm going home to take a nap and then do very little until rehearsing tomorrow night.
Friday, January 25, 2008
Monday, January 21, 2008
Recent Highlights
Two highlights of the year so far:
An inspiring weekend working with young students at the Talent Developing Studio in Hanvor, VA. Working on music with these hard-working students reminded me that it's really refreshing and joyful to start with musical ideas and then work on technique to fit those ideas. My tendency is to start with technique in my own work, in spite of my own very wise teacher's admonitions to start with music!
Great art makes us feel things - it challenges whatever numbness we might have. It also gives us a fresh perspective. Tonight I had both experiences as I watched and listened to my colleague's works Windows, Doors, and Metal. The images used in these works were beautiful and suggested many forms and ideas. The music was compelling at times and hypnotic at others. Thank you Dr. Guthrie!
An inspiring weekend working with young students at the Talent Developing Studio in Hanvor, VA. Working on music with these hard-working students reminded me that it's really refreshing and joyful to start with musical ideas and then work on technique to fit those ideas. My tendency is to start with technique in my own work, in spite of my own very wise teacher's admonitions to start with music!
Great art makes us feel things - it challenges whatever numbness we might have. It also gives us a fresh perspective. Tonight I had both experiences as I watched and listened to my colleague's works Windows, Doors, and Metal. The images used in these works were beautiful and suggested many forms and ideas. The music was compelling at times and hypnotic at others. Thank you Dr. Guthrie!
Thursday, January 03, 2008
Christmas in Venice
We spent the Sunday after Christmas at Venice Presbyterian Church in Venice, FL.
The service was a service of lessons and carols. We were told that the basic format goes back to Archbishop Benson who chose the readings and so forth back in 1880. Also, the service of lessons and carols has been broadcast on BBC from Cambridge every year since 1928. (This reminds me that I read somewhere that Handel’s Messiah has been performed somewhere every year since it was composed.)
One phrase on the bulletin from Venice Presbyterian refers to the “joy-filled traditional worship style for which VPC is known.” The service we attended perfectly exemplified that statement.
I’ll highlight some of the elements that made the service especially rich for me:
After the reading about the expulsion of humanity from the Garden of Eden, the organist played a setting of a very old and seldom heard hymn, “Through Adam’s Fall All Men Are Cursed.” This gave a sense of connection back through centuries of religious tradition.
Another musical highlight was a piano solo presented by the pastor. He played his well-crafted interpretation with seriousness and sincerity. The trajectory of each phrase was beautifully calibrated to fit into its overall context. His rendering was also characterized by striking shifts of color and very well-projected soft playing.
Just a little later, the choir sang an arrangement of “He is Born, the Divine Christ Child.” In addition to their good blend, the choir added depth to the service at this point with a verse or so in French.
Throughout the service, readers, many of whom were members of the church’s pastoral staff , read passages of prophecy or the details of Christ’s birth from Luke and Matthew. Each reader’s tone matched the respective reading like a glove. One conveyed the sweetness of the manger scene, another, the profound beauty of the coming of Christ, and yet another, the world of the Wise Men.
Regarding these readers, I appreciated being able to match the names in the order of service with the names of the pastoral staff on the back of the bulletin. Coming to the church as a visitor, it gave me a good sense of the warmth and range of some of the folks who minister in the church.
Two of the congregational hymns were “Angels We Have Heard on High” and “We Three Kings.” I thought the organist gave each of these just the right flavor. For the second verse of “Angels” his registration was very reedy and he played a little staccato. This underscored the hardy ways of the shepherds. And throughout “Kings” he maintained a sense of the gait of dromedaries throughout, thus carrying the congregation along on the journey of the Wise Men.
Two surprises (at least to me) were saved for close to the end of the service. The final congregational hymn was “In Bethlehem a Babe Was Born.” This was a new carol to me, and it did a great job of summarizing all the ground that we have covered in the service. The hymn went on to call for contemporary action regarding the ancient message we had been hearing. I also liked it because of a rarely-heard iii chord at the end of the penultimate line that harmonizes the word "forlorn."
The other surprise was the choir’s spirited singing of an anthem entitled “Rejoice with Exceeding Great Joy” by D. Johnson (same arranger as for “He is Born” mentioned above.) This piece was a combination of Bizet’s “Farandole,” “We Three Kings,” and “The First Noel” with quite a few glissandi thrown into the mix. But the great thing about it was the joyful and attitude of the singers! Trumpets and drums couldn’t have added any more life to the scene. The fact that the joy was deeply felt and conveyed with so little inhibition made me notice it and participate in it.
It was during that piece that I really understood the phrase from the bulletin about “joy-filled traditional worship style.”
Finally, after having such a good and uplifting time in the church, we were reminded through a thoughtful benediction and a Bonhoeffer quotation that the world outside the church’s doors is hurting and that we are called to make the joy of Christ’s Kingdom a reality in our world today. The service was bookended by this type of thought - the pastor’s prayer at the beginning provided that same sort of understanding of the context of our worship. We visited the Venice Presbyterian once before and heard the same type of message then as well.
We were very grateful for this Christmastide experience .
The service was a service of lessons and carols. We were told that the basic format goes back to Archbishop Benson who chose the readings and so forth back in 1880. Also, the service of lessons and carols has been broadcast on BBC from Cambridge every year since 1928. (This reminds me that I read somewhere that Handel’s Messiah has been performed somewhere every year since it was composed.)
One phrase on the bulletin from Venice Presbyterian refers to the “joy-filled traditional worship style for which VPC is known.” The service we attended perfectly exemplified that statement.
I’ll highlight some of the elements that made the service especially rich for me:
After the reading about the expulsion of humanity from the Garden of Eden, the organist played a setting of a very old and seldom heard hymn, “Through Adam’s Fall All Men Are Cursed.” This gave a sense of connection back through centuries of religious tradition.
Another musical highlight was a piano solo presented by the pastor. He played his well-crafted interpretation with seriousness and sincerity. The trajectory of each phrase was beautifully calibrated to fit into its overall context. His rendering was also characterized by striking shifts of color and very well-projected soft playing.
Just a little later, the choir sang an arrangement of “He is Born, the Divine Christ Child.” In addition to their good blend, the choir added depth to the service at this point with a verse or so in French.
Throughout the service, readers, many of whom were members of the church’s pastoral staff , read passages of prophecy or the details of Christ’s birth from Luke and Matthew. Each reader’s tone matched the respective reading like a glove. One conveyed the sweetness of the manger scene, another, the profound beauty of the coming of Christ, and yet another, the world of the Wise Men.
Regarding these readers, I appreciated being able to match the names in the order of service with the names of the pastoral staff on the back of the bulletin. Coming to the church as a visitor, it gave me a good sense of the warmth and range of some of the folks who minister in the church.
Two of the congregational hymns were “Angels We Have Heard on High” and “We Three Kings.” I thought the organist gave each of these just the right flavor. For the second verse of “Angels” his registration was very reedy and he played a little staccato. This underscored the hardy ways of the shepherds. And throughout “Kings” he maintained a sense of the gait of dromedaries throughout, thus carrying the congregation along on the journey of the Wise Men.
Two surprises (at least to me) were saved for close to the end of the service. The final congregational hymn was “In Bethlehem a Babe Was Born.” This was a new carol to me, and it did a great job of summarizing all the ground that we have covered in the service. The hymn went on to call for contemporary action regarding the ancient message we had been hearing. I also liked it because of a rarely-heard iii chord at the end of the penultimate line that harmonizes the word "forlorn."
The other surprise was the choir’s spirited singing of an anthem entitled “Rejoice with Exceeding Great Joy” by D. Johnson (same arranger as for “He is Born” mentioned above.) This piece was a combination of Bizet’s “Farandole,” “We Three Kings,” and “The First Noel” with quite a few glissandi thrown into the mix. But the great thing about it was the joyful and attitude of the singers! Trumpets and drums couldn’t have added any more life to the scene. The fact that the joy was deeply felt and conveyed with so little inhibition made me notice it and participate in it.
It was during that piece that I really understood the phrase from the bulletin about “joy-filled traditional worship style.”
Finally, after having such a good and uplifting time in the church, we were reminded through a thoughtful benediction and a Bonhoeffer quotation that the world outside the church’s doors is hurting and that we are called to make the joy of Christ’s Kingdom a reality in our world today. The service was bookended by this type of thought - the pastor’s prayer at the beginning provided that same sort of understanding of the context of our worship. We visited the Venice Presbyterian once before and heard the same type of message then as well.
We were very grateful for this Christmastide experience .
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